MR. BLIGH'S BAD LANGUAGE

PASSION, POWER AND THEATRE ON THE BOUNTY

A learned, humane, provocative ``creative reading'' of the mutiny on the Bounty—the events; their meaning and representation in native lore, British life, the theater, and cinema; and their historical value. An engaging style and familiarity with political, naval, theater and film history, with anthropology, and with thinkers such as Foucault, Barthes, and LÇvi-Strauss enrich this ``celebratory narrative,'' as Dening (History/Univ. of Melbourne) calls it. The story is familiar but, Dening says, the emphasis, meaning, explanation, and value change depending on the point of view, the period, culture, and medium in which one represents the character of Bligh (a perfectionist who preferred to avoid physical punishment) and the sailors; the idea of discipline in the navy; the participants' various expectations; the natives they encountered; the brutality and brutalization, abandonment and retribution; and the survivors' colony on Pitcairn Island. In the theatrical terms Dening employs, the mutiny becomes an enactment of roles, a ritual representing universal experiences of sacrifice, deification, resurrection, possession, encounters between natives and strangers, and the ranging iconography of power as it appears among natives and seamen. Dening's ``cliometrics'' (the statistics on corporeal punishment in the navy); his discussions of Jonas Hanway, of Captain Cook's adventures among the Polynesians, of the British popular theater, of the five films based on the Bounty (including the moral one in the 30's, the political one in the 60's, and the psychological one in the 80's); the encyclopedic knowledge he brings—all add conviction to his imaginative interpretations and demonstrate his proposition that ``history is something we make rather than something we learn.'' A fascinating, essential chapter in the history of the Bounty. (Fifty halftones, three maps—not seen.)

Pub Date: Sept. 18, 1992

ISBN: 0-521-38370-6

Page Count: 464

Publisher: Cambridge Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1992

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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ALL THE PRESIDENT'S MEN

Bernstein and Woodward, the two Washington Post journalists who broke the Big Story, tell how they did it by old fashioned seat-of-the-pants reporting — in other words, lots of intuition and a thick stack of phone numbers. They've saved a few scoops for the occasion, the biggest being the name of their early inside source, the "sacrificial lamb" H**h Sl**n. But Washingtonians who talked will be most surprised by the admission that their rumored contacts in the FBI and elsewhere never existed; many who were telephoned for "confirmation" were revealing more than they realized. The real drama, and there's plenty of it, lies in the private-eye tactics employed by Bernstein and Woodward (they refer to themselves in the third person, strictly on a last name basis). The centerpiece of their own covert operation was an unnamed high government source they call Deep Throat, with whom Woodward arranged secret meetings by positioning the potted palm on his balcony and through codes scribbled in his morning newspaper. Woodward's wee hours meetings with Deep Throat in an underground parking garage are sheer cinema: we can just see Robert Redford (it has to be Robert Redford) watching warily for muggers and stubbing out endless cigarettes while Deep Throat spills the inside dope about the plumbers. Then too, they amass enough seamy detail to fascinate even the most avid Watergate wallower — what a drunken and abusive Mitchell threatened to do to Post publisher Katherine Graham's tit, and more on the Segretti connection — including the activities of a USC campus political group known as the Ratfuckers whose former members served as a recruiting pool for the Nixon White House. As the scandal goes public and out of their hands Bernstein and Woodward seem as stunned as the rest of us at where their search for the "head ratfucker" has led. You have to agree with what their City Editor Barry Sussman realized way back in the beginning — "We've never had a story like this. Just never."

Pub Date: June 18, 1974

ISBN: 0671894412

Page Count: 372

Publisher: Simon & Schuster

Review Posted Online: Oct. 10, 2011

Kirkus Reviews Issue: June 1, 1974

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